re, in addition to
filling the post of organist to the King at Versailles, he was
regarded as the most fashionable music-master of the day. His
conceited and overbearing manners, however, had led to his banishment
from the French Court, and he had undertaken a tour in Italy with
triumphant success before coming to the German capital. Bach found
everybody discussing the Frenchman's wonderful playing, and it was
whispered that he had been already offered an appointment in Dresden.
The friends of Bach insisted that he should engage Marchand forthwith
in a contest in defence of the musical honour of his nation, and as
Bach was by no means indisposed to pit himself against the conceited
Frenchman, he gave his consent to the challenge being dispatched.
Marchand, for his part, showed an equal readiness to meet Bach,
foreseeing an easy victory over his antagonist. The King promised to
grace the contest with his presence, and the time and place were duly
fixed. It was agreed that the contestants were to set each other
problems to be worked out on the piano, the victory to be adjudged by
the connoisseurs who were present.

The day fixed for the trial arrived. A brilliant company assembled,
and at the appointed time Bach made his appearance; but his adversary
had not arrived. The audience awaited his coming for some time with
impatience, and at length the news was brought that Marchand had left
the city suddenly that morning! It transpired that on the previous day
Bach had been performing on the organ in one of the principal churches
of the town, and Marchand, attracted by the crowd, made his way into
the building and listened to Bach's wonderful playing. So greatly had
the music impressed him that, when he learnt who the player was, he
began to tremble for his success at the coming contest. As the time
approached his fears grew apace, and at length, without a word to
anybody concerning his intentions, he fled from the city.

The year 1717, in which the above event took place, was marked by a
further advancement in Bach's fortunes, for on his return from
Dresden he was appointed Capellmeister to the young Prince Leopold of
Anhalt-Coethen. His new position left him abundant leisure in which to
follow the bent of his genius in regard to the composition of
instrumental music, and many of his finest works were written at this
time. His relations with the Prince were of the most cordial
character. The latter was an enthusiastic lover